Search

This study presents the concept of rhythm that give base to the translation's theory by Henri Meschonnic. The author defends the rhythm in language, in a different way from what is seen as regular alternation between strong and weak beats, dissociated from previous music and metric. The definition that contributed for such formulation of rhythm is born in the etymological redefinition of the concept made by Émile Benveniste. He shows how the rhythm has in its etymology the form, as the movement in the instant where is taken and so he can became multiple. Thus, rhythm could be defined as the organization of meaning in discourse, which produces its own semantics, or significance. Renewed by the program of rhythm, translation, in turn, will be understood here as a way of acting on language. [ABSTRACT FROM AUTHOR]

A song needs to be read with the ears like a text where musical elements also say, speak, shout, agree and disagree. The words, at the same time, overflow sounds whose meaning lies in their musical context, transcending the written text. The word is a sonic matter, the basis that structures rhythm, images, and definitions. How to read-listen to songs in the context of expanded literature? This article discusses intersong and extrasong procedures for studying songs avoiding the split of lyrics and music of the song O Quereres, by Caetano Veloso. [ABSTRACT FROM AUTHOR]